first the new troupe was named the Théâtre de Monsieur after the king's brother, Louis-Stanislas-Xavier, comte de Provence, who had the court title of Monsieur, and who along with the queen promised their protection to the new group. Later, after a move from the Salle des Machines in the Tuileries Palace to the rue Feydeau, and the fall of the monarchy, it became commonly known as the Théâtre Feydeau. Initially the Théâtre de Monsieur was forbidden to perform the same repertory as the Opéra-Comique, but this quickly changed. With the invasion of the Tuileries by a mob on 10 August 1792, the Italian singers returned to Italy, and Viotti fled to England. The Feydeau company, still under the direction of Cherubini, turned to performing French opéra comique. The competition between the two companies, forced the Opera-Comique to upgrade salaries in order to retain the best personnel. In 1794, Blasius' salary at the Opéra-Comique was increased from 2,000 livres to 2,600 livres. An account of the year VII (1795) refers to the conductor of the Opéra-Comique as "le cit. [citoyen] Blasius", i.e., Citizen Blasius. The repertoire of the Opéra-Comique performing at the Salle Favart during these years testifies to its adherence to the values of the revolution, in contrast to its "rival and emulator", at the Feydeau, which remained true to its aristocratic origins and attracted opponents of the government. In 1793 Blasius had composed the music for a two-act trait historique by Auguste-Louis Bertin d'Antilly called Le Peletier de Saint-Fargeau, ou Le premier martyr de la République française. This piece, which was first performed by the Opéra-Comique at the Salle Favart on 23 February, was based on an event which had occurred only one month prior: Louis-Michel le Peletier, marquis de Saint-Fargeau, was assassinated on 20 January for having voted for the execution of Louis XVI, who was executed on the 21st. Early in 1794 Blasius was one of twelve composers, including Cherubini, who collaborated on a 3-act Revolutionary, patriotic comédie mêlée d'ariettes called Le congrès des rois. The composition, ordered by the Committee of Public Safety, was finished in just two days and first performed in the Salle Favart on 26 February 1794. Unfortunately, the work was not a success, and the Revolutionary purists found much to object to. After only two performances the authorities banned it altogether. By 1801 the competition between the Opéra-Comique and the Théâtre Feydeau